Photography: Arty Smokes

Whether Getty’s new deal with Flickr turns out to be a damp squib, hampered by low commissions and missing model releases, or a raging success in which photography enthusiasts earn market rates for their images, Getty has shown rare faith in an even rarer opportunity. It’s decided that there’s a market for the  kinds of pictures that photographers most want to shoot.

Of course, photography is usually fun but there’s a difference between shooting the kinds of images that a client needs and taking photos that satisfy the photographer’s soul. Making money from microstock, for example, tends to mean shooting happy-looking models against green grass and blue skies. Commercial photography requires professional photographers to put their talent to work photographing products such as shampoo bottles and cans of beans. Even portrait photographers have to shoot pictures that are flattering even when the subject would produce a more interesting photograph shot more honestly. Making your images available for sale on Flickr provides at least a chance that your favorite photographs will also have a commercial use. So how else could you earn income and still shoot the pictures you love?

One option is to turn not to general stock sites but to specific niche services. Mark Maziarz, for example, is a stock photographer with a number of different niched stock sites. His local site offers pictures shot in Park City, Utah and his sports photography site lets him make money out of the pictures he takes of athletic activities. It’s possible that in each case Mark will be taking pictures with one eye on the user, leaving room for the designer to insert copy and focusing on the kinds of shots that buyers like, but he’s still photographing a subject that he finds interesting.

That’s one approach. Take pictures to be used for textbooks rather than advertising and you should find that you hardly have to think about the end user at all. Images of astronomy or attractive macro shots of flowers can have stock uses too, especially when the pictures come with detailed descriptions. The markets for these kinds of images might be smaller than those for general stock but the pictures should also be more fun to shoot.

Creative Wedding Photography

Wedding photography is all about pleasing the client. When a couple is paying a photographer several thousand dollars to take a picture of the most important day of their lives, they’re not really interested in whether the photographer is enjoying himself. They want to make sure that they’re enjoying themselves — and the photographer wants to make sure that he delivers the pictures the client has hired him to create.

But the most successful wedding photographers don’t just create mementoes. They take pictures that have style and creativity, that reflect who they are and the way see the world while still documenting the couple’s wedding.

It’s an approach that wedding photojournalism has opened for photographers who have the talent to make the most of it. Instead of lining families up for formals, wedding photojournalists attempt to capture unguarded moments and natural emotions. Their images reflect the day as they saw it and as the couple experienced it, not just the way the clients expected a wedding to feel and appear. The result can be a collection of pictures that are as rewarding for the photographer to shoot as they are treasured by the client.

Sell Your Aesthetics

Even wedding photojournalists though still have to please their couples. They might be pleasing themselves at the same time but given a free choice, a photographer might not choose to shoot nuptials, especially when they’ve already done it 20 times that year. Art photographers though get to shoot exactly the pictures they want in exactly the way they want. It’s the most enjoyable and rewarding kind of photography and one that grants the photographer the most freedom, so it’s no surprise that it’s also about the hardest to sell. Susan Kirchman of the Kirchman Gallery in Johnson City, Texas isn’t unusual in accepting only about three of the 50 or so photographers who pluck up the courage show her their work each year. While the satisfaction can be enormous, the odds are against most photographers experiencing it.

But galleries aren’t the only way to sell creative pictures either. Photography books and products such as calendars, cards and posters can also feature the kinds of images that photographers most want to shoot. Whether they’ll sell will depend on where you’re hoping to sell them and who you’re hoping to sell them to. The kinds of calendars that appear in stores, for example, tend to be mass-produced and have to appeal to the broadest range of buyers. They tend to do that by featuring cuddly puppies and furball cats or scenic views of the best-known and most iconic locations. Landing spots in those stores means fighting off the competition from professional photographers with strong portfolios and even stronger contacts.

But there’s no reason why you can’t sell them yourself. When travel photographer Jeremy Mason McGraw began playing with photography, he was working on a cruise ship. His first step towards professional photography happened when he persuaded a number of souvenir stores to stock his photos in the form of postcards. On a small scale, with images in only a handful of outlets, it’s not a strategy that’s going to bring in piles of cash but it might just bring in some revenue from pictures of locations that you love to visit and photograph. Small-run calendars and photography books too can sell when you shoot them on a narrow subject with a dedicated audience, and even when you find a uniquely interesting niche.

Selling the pictures you love is the ultimate photographic goal, proof that your sense of aesthetic is shared by others and evidence that you have the technical skill to create beautiful works that others will treasure. It’s not the way photography is usually sold and it’s not something that you can rely on selling when you’re hoping to make some income from your photography. But it is possible, and Getty is not the only way to make it happen.

Related posts:

1. Selling Pictures without Model Releases
2. Photographers Help Online Singles Find Love
3. Putting Your Pictures On Buyers’ Walls Month After Month
4. Become a Master of Your (Photography) Niche
5. Outsource Selling Prints of Your Photos

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Photography: gainesp2003

Many people are passionate about photography. They’re fascinated by the equipment, excited by the challenge, thrilled by the sight of beautiful compositions created with a lens, an understanding of light and a photographic eye. But the most successful photographers often have a second passion. They may find photography enthralling, but it’s the subjects they photograph that inspire them to pick up a camera and it’s the devotion to those subjects that motivate them to produce outstanding images — and to turn those images into photographic careers.

Gary Melnysyn is a Connecticut-based photographer who has been shooting seriously for twelve years. His works have been shown in New England galleries, as well as in hospitals and universities. He’s a contributor to Nature Photographer’s Magazine, Outdoor Photographer Magazine and in 2008, one of his pictures was selected as an Editor’s Pick by National Geographic. He has also exhibited at the Old Faithful Visitor Center in Yellowstone National Park.

None of that should come as too great a surprise when you learn that in addition to being a photography enthusiast, Gary is also a Certified Wildlife Conservationist and an Interpretive Park Ranger who recently completed a five-month stint at Yellowstone. It was that love of nature and open spaces that led him to take up photography.

“I’ve always had a passion for the outdoors and wildlife in general,” Gary explains. “I decided that part of my spending time in the wilderness areas should include documenting my travels. I’ve tried to take it a step further over the years and develop it more into a fine art medium.”

Wildlife Photography as Art, Not Documentary

Photography: Gary Melnysyn

Gary’s images show waterfalls and lakes, mountains and geysers but it’s the animals that win most of his attention — birds and stallions, grazing buffalo and wild sheep all turn up in his portfolio. Any location that allows him to photograph bears though will be a favorite, says Gary, and he has a number of choice locations in Yellowstone. His most memorable photographs though, he says, are of the Druid Wolf Pack, a group of wolves that was introduced from Canada in 1996, became the subject of a number of nature movies, and is believed to have died out earlier this year.

Photographing in a place as beautiful as Yellowstone National Park, and shooting subjects as photogenic as bears and wolves, should make life relatively easy for any keen photographer, but Gary distinguishes between photographs that document his trips into the wilderness and images that might be regarded as works of art. The difference, he argues, lies in an understanding of light and composition — and a photographer’s eye.

“I always try to look at a scene as if I were going to break out my oil paints and begin creating the scene from my pallet,” says Gary. “Angles, lighting, what pleases the eye. This is the challenge. Anyone can pull the trigger and document where they’ve been. I believe it’s those that see what others might not that create images of art.”

But the art itself isn’t the only way that Gary is making use of his knowledge of nature and wildlife photography. When he’s not shooting, exhibiting or working as a park ranger, Gary teaches. He offers two kinds of classes. His workshops touch on equipment and camera settings, like any photographic workshop, but they focus in particular on the specific challenge of capturing appealing images of wild animals — a specialization that gives him a unique advantage. He also offers individual tutoring, a format which lessens the likelihood that students will feel intimidated by other learners and which allows him to personalize the lessons to suit the student’s needs. He also delivers lectures on wildlife photography, on the North American bear, and on how and where to photograph wildlife. All of those formats provide a way for Gary to continue to earn from his knowledge of both his subject and photography, even during periods when he’s not taking pictures.

Photography Teachers Needed with Experience and Special Knowledge

Photography: Gary Melnysyn

That may be a strategy that any photographer can follow provided they meet a certain set of conditions. For Gary, the first of those conditions is the time he’s spent in the wilderness photographing wild animals.

“I… can add value based upon my experience in the field,” he says. “I think that you must have that practical experience in the field before you can be a credible instructor.”

The second though is knowledge that can’t be acquired easily any other way. It’s only when you’ve  picked up that information, and can teach something that can’t be learned from a book, that you’re ready to be a photography teacher, he warns.

Teaching and lecturing aren’t for everyone but they do provide some real benefits. Winning commissions and mounting exhibitions can be challenging and unreliable while teaching can provide a stable and reliable revenue stream. Workshops can be mounted during off-periods when access to your main subject is restricted, limiting your ability to shoot new pictures and build your portfolio. And seeing the enthusiasm in the eyes of a student as they understand how to shoot the pictures they’ve always wanted to create can go a long way towards reigniting a tiring sense of passion.

And there’s a big market, too. A photographer who knows how take great pictures can always find people willing to pay to acquire those skills. But as any flick through a photo-sharing site will show you, a lot of people have photography knowledge. A photography enthusiast looking to teach will have some tough competition then, especially if he or she doesn’t have the kind of field experience that enables Gary to fill classrooms and lecture halls. Combining general photography skills with the specific knowledge of how to shoot within a niche — whether that’s wildlife photography, car photography, children’s photography or anything else — will always deliver an advantage.

Photography is a passion in itself. But photography that only concerns itself with technique and with technical challenges can feel that it’s missing something. It’s when you use one passion to capture another that you really produce memorable images — and create exciting new opportunities.

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2. Canon Offers A Contest And Free Classes
3. The Art of Seeing Photography Opportunities
4. The Most Overlooked Paid Photography Opportunities
5. Blurb Offers $25,000 for the Best Self-Published Photography Book

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Photographers might be a varied bunch but there’s one thing they can all agree on: prices are dropping. Times seem to be getting harder for photographers who want to sell their pictures, and they’re hardest of all for those who have been making a living licensing their images. It’s a feeling with some foundation.

FotoQuote, an industry-standard program that uses sales records to track prices and suggest usage fees, was launched in 1993. Since then US inflation has amounted to just over 50 percent but according to Cradoc Bagshaw, a professional photographer and the program’s creator, usage prices have not generally kept up. Some advertising categories may have risen by half over that period and prices are higher for non-editorial use with low circulations and small print runs, but higher end usage has seen a sharp falling off and most usage categories have suffered cuts once the effect of inflation is taken into account.

Publishers Aren’t Supposed to Be Talking

And it’s not just the prices that are being squeezed. Clients are also pushing for looser licenses, demanding more usage while paying less money. Those changes to the pricing model may have an even greater effect on a photographer’s bottom line than the amounts paid, argues Cradoc.

Textbook publishers, for example, began demanding that image licenses be extended to five years; they’re now asking for ten years without offering to pay additional fees. Photographers would also demand additional payments if a book that included their image was revised. Publishers began expecting the original price to include those revisions if less than 10 percent of the content was changed; in the last year or so, they have upped those demands to 25 percent, and refusal is seen as a deal breaker.

“These publishers, who aren’t supposed to be talking to each other, seemed to come up with the idea at the same time,” says Cradoc. “Rarely are books revised more than 25 percent.”

Photographers are certainly feeling these changes in their pockets but they’re also feeling them in their relationships with buyers. Larry Ulrich, a photographer with almost 40 years’ experience and the owner of a small stock company representing the work of eighteen photographers, reports that clients were easy to work with when photographers could dictate the prices based on experience and industry standards. Now sellers have to work within the budgets of their buyers.

For Cradoc Bagshaw, the pressure on pricing and usage is coming primarily from the market’s two main suppliers: Corbis and Getty. A cartel of agencies large enough to define the market, he says, is preventing prices from rising with inflation and in some cases pushing them below the cost of production.

“Much of this is possibly caused by the business practices of Getty,” says Cradoc. “They are setting much of the model that photographers have to compete with when they are pricing images, but they aren’t constrained by the same costs in producing the images that the photographers have to deal with.”

It’s Enthusiasts’ Fault

Larry Ulrich places the blame elsewhere, on new photographers who are more interested in seeing their names in print than in receiving payment for their talent. Major stock companies, he argues, offer small percentages because of the increased supply of low-priced images from photographers who don’t consider the cost of production or the need to make ends meet.

“So many of these individuals have come into our profession after success in other professions where they adhered to their own industry standards for pricing,” says Larry. “But once here, how much money they make isn’t a necessary goal.”

It’s hard though to estimate the effect that enthusiasts are having on pricing, even indirectly. Cradoc Bagshaw notes that buyers are using images wherever they find them, even placing microstock pictures on the cover of Time. Getty’s Flickr collection is growing daily too, introducing the market to part-time photographers with real talent. That increased demand will affect certain kinds of uses. But professionals, he notes, are still selling stock, often by taking advantages of the new technologies. Larry’s own agency has remained competitive by cutting costs, increasing productivity, and by no longer sending film to buyers. He also helps his customers save time by supplying them with high quality, highly targeted images, a benefit with real value in a crowded market. Model releases supplied by professionals are also likely to be safer than those supplied by amateurs, says Cradoc.

And the new technology is opening new opportunities too. The latest edition of fotoQuote contains 86 new pricing categories, bringing the total to 304. Of those new categories, 35 are for video stock footage, an area that Cradoc predicts will be a big part in photographers’ future income opportunities. Photographers can use the same equipment that they use for stills, delivering usable video at competitive prices.

“Also there is more protection from the likelihood of the amateur photo hordes producing something usable than there is with stills,” he argues.

That’s good news for photographers, not so great for traditional video producers who may find themselves feeling like stock photographers.

Whether the changes to the photography industry are good or bad for photographers though, and whether they’re caused by small-time enthusiasts, giant photo agencies, or the combined pressure of both, change is happening. Photographers need to learn how to swim in the new waters, making the most of opportunities as they arise. Instead of setting prices, demanding tight usage restrictions and negotiating from a relatively strong position, they have to get used to asking how much the buyer can afford to pay and deciding whether that’s an amount that they can afford to accept, even if that means saying no to a figure that doesn’t take the cost of image production into account.

And reliability and reputation are key too. When the market is filled with supply, shoppers want to buy products that they’re familiar with and from sellers they know and trust. Those are assets that can help generate a feeling that even if prices aren’t rising, at least your own income is holding steady.

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5. CutCaster Creates an Efficient Photography Marketplace

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One of the attractions of the opportunity provided by microstock is that photography enthusiasts can shoot the images they love and make money out of them. It turns a hobby into a passive income generator without putting the photographer through the less pleasant process of having actually to work. In practice, of course, it rarely turns out that way. The most successful microstock photographers treat their contributions with the same seriousness with which a factory owner looks at his outputs. They plan their shoots, think about the costs of creating them and, most importantly, make sure that the images they photograph match the demand among buyers, even if they don’t match entirely the kinds of images they’d want to shoot for fun. To make those kinds of assessments though, photographers need to understand what the market wants.

That’s not always easy to do. While microstock sites are happy to show their most successful photographs, and a few list the most popular searches, matching gaps between demand and supply to spot valuable opportunities is a problem. It’s a problem that picNiche has gone some way towards solving.

Created by Bob Davies, a UK-based software engineer, the site offers a number of free microstock toolbars. The Microstock Image Search toolbar helps buyers to find images across multiple agencies, lets them send image requests directly to contributors, and notifies them when interesting new images are uploaded, among other functions. The Contributors toolbar provides photographers with notifications about sales and approvals, a keywording tool, an FTP-upload drop-box for six agencies, and other solutions too.

Photographers Work Harder than Buyers

The search toolbar is currently used  by about 500 buyers; the contributors toolbar has about 2,500 users. (Usage figures for both toolbars drop at the weekends though when buyer drop-off outpaces that of contributors by 20 percent. Buyers’ Sundays, it seems, are more restful than those of photographers.) The most popular toolbar provided by picNiche however is the newer Ultimate Free Stock Photo Search Tool which looks for free images across more than 200 websites, including many microstock sites’ own promotional collections. That toolbar has about 3,000 users, runs as many as 2,000 searches a day, and has been shown to convert free users to paying buyers.

The idea for the toolbars came three years ago, when Bob left his corporate job to find something that offered more freedom and a reliable passive income, but which also had enough data to make informed decisions about future development. Microstock, with its creativity and open doorway, looked like a suitable choice even though Bob sees himself as a software guy rather than a photographer. Once he’d started shooting, he found that he was frequently refreshing his stats to check sales and monitor the progress of his portfolio. The Contributor’s toolbar was a natural extension of that experience.

“On a dull day I’d waste a lot of time with F5-itis, constantly checking my earnings rather than creating images,” says Bob. “By incorporating my earnings checks it into the browser, any activity on my computer would also be accompanied by the nice little ‘dings’ whenever I made a sale.”

Once he’d added keywording and a dropbox, he started sharing the toolbar as a free plugin for Firefox. The toolbar has proven useful enough, but what Bob really wanted was a way of measuring the gap between image supply and image demand for particular keywords. If he could identify popular niches for which there were relatively few images, then he’d know that shooting those topics would bring an increased chance of sales.

None of the microstock agencies he contacted were willing to share their search data so Bob turned to his toolbars to extrapolate search terms himself. Using a sample set of images, he calculates the average views-per-file and the average downloads-per-file for each searched keyword phrase. The result is a score that shows the probability of an average-quality image selling at least once throughout its lifetime.  A “picNiche rating” of 100, for example, suggests that an image that matches that search term will sell at least once. A rating of 1,000 predicts at least ten definite sales, although once the figures start to reach 3,000 to 5,000 they become less reliable. Enter any term into picNiche and you should be able to see your chances of selling pictures that cover that topic.

The calculations though are only suggestions based on the number of views and downloads received for a keyword entered into picNiche’s toolbars. But as Bob notes, success at microstock depends on more than choosing the right topics.

“That rating… needs to be balanced against common sense and some rational thought. A higher rating does not ‘always’ mean better sales,” he warns, “and you need to be able to judge objectively both the quality of your own work and the time/cost it takes to create/produce.”

The idea though is that better your photography, the lower the picNiche rating you can shoot and still expect to make sales. Bob, who says that he is “not a particularly good photographer,” tends to shoot topics that rate around 75-400.

“If I produced work twice as saleable as the average image, I would produce for topics as low as a 25 rating.”

Buyers are Looking for French Castles

But the figures do appear to work. Bob has about 2,000 photos spread over ten microstock sites, which he describes as “general amateur shots.” The best selling images in his portfolio though are photographs of mobile phones, keys and other items that he shot in response to his picNiche results.

Each month, Bob posts a new cloud of niches that show the most potential. Users can feed these terms into picNiche’s search engine to see the views-per-file, downloads-per-file and ultimately, the ranking. At the moment, some of the biggest opportunities appear to lie in “carryon luggage,” “restaurant dinners” and “corn dog” among others. They’re probably easier to shoot than “French castle” and “tandem bicycle” which also appear in the list. In general, says Bob, the biggest opportunities tend to lie in alternative lifestyles such as gay and lesbian couples, seniors, and of course, ethnic niches. Buyers, he says, are also looking for more naturalistic images of professionals at work — a nurse administering an injection, for example, rather than a woman in a nurse’s outfit — images that might not be easy for a typical microstock enthusiast to capture.

“There are a lot of areas you’re just not going to be able to compete without thousands of pounds of equipment and a perfect eye,” Bob warns. “In all honesty, if  you want to really earn from microstock now, you’re going to have to work hard at it.”

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5. Photographing Your Work Space

Article source: http://feedproxy.google.com/~r/PhotopreneurBlog/~3/PI7wDUkUq80/microstock-becomes-hard-work-even-with-data-tracking

Photography: © LWA-Dann Tardif/Corbis

Corbis Creative Research’s  second macro brief of the year, released recently, suggests that image buyers are moving away from pictures of technology and gadgetry, and towards photos of human interaction. The brief aims to identify the cultural trends and behaviors that the company expects to influence imagery over the next two to five years. Corbis has now launched a new collection, called “The Human Touch,” to meet the expected demand.

The root of the trend, says Amber Calo, Senior Manager, Creative Intelligence at Corbis, is the recession, which has sparked a backlash against consumerism and conspicuous consumption. Individuals and society are taking a second look at the things that matter most in life, she explains, and are discovering that human connections and time spent with friends and family are more precious than material goods. Technology has given the trend an additional boost, providing channels of communication over long distances but at the same time, isolating the people who use them.

“It’s become cliché to see a group of people on any given street, each talking on a cell phone but not to each other,” says Amber. “While our use of technology shows no sign of waning, our desire for connection has made us nostalgic for real, human contact.”

Images About People and Simple Pleasures, not Objects

The images the collection contains cover a number of different topics, including human relationships, wellness, escape and leisure, and even handicrafts. Couples are shown holding hands, walking along the beach or cuddling on the sofa. Children play under water sprinklers, a biker takes off down a dirt track, a woman practices Yoga. Families stroll through parks, gardeners dig up allotments, and painters add the finishing touches to a community mural. It’s all simple, joyful stuff in which the most advanced piece of technology might be a paint brush or a pencil and the emphasis is on emotion, creativity and relationships. The models might be happy and smiling — as they usually are in stock photography — but the pleasure comes from time well-spent rather than from objects or achievement.

So far, “The Human Touch” has picked up more than 2,000 images that fit the theme, supplied by more than 100 commercial and editorial photographers. Corbis issued a call to action and the photographers brought to life the concepts described in the brief.

“Photographers see the value in this information and are eager to shoot content that’s based on trends, research and analysis,” says Amber. “As a result, we’ve received a lot of interest from photographers interested in shooting content that reflects Human Touch values.”

Corbis Creative Research uses two sources to identify buying trends. Internal analysis looks at the images provided by top sellers and analyses the most popular searches. External analysis examines tearsheets and reviews trend research to predict the way the market is already moving, and where it’s likely to go in the future.

The collection is new, so it’s too early for sales figures to confirm whether the predictions are accurate but Corbis generally expects content submitted for macro briefs to outperform “non-macro” content, says Amber. A quick glance at the top-selling images over the last 30 days on Fotolia, however,  shows a mixed picture. Alongside images of nature, families and children that might be loosely said to come close to “Human Touch” values are plenty of images related to technology —  exactly the sort of tools against which Corbis is describing a backlash.

It may be that microstock’s part-time sellers have yet to catch up on the new trend and aren’t supplying the images the market needs. It’s possible, too, that microstock’s budget buyers are late with the public’s new mood and will only follow once they see that advertising companies are already using the higher quality “Human Touch” images available on Corbis.

It’s also likely though that in addition to a new rising trend for shots of simpler pleasures, the backlash isn’t total. Some buyers are still interested in shots that show technology, suits, offices and success even as others are looking for pictures of handicrafts, hugs and hikes with the family.

Corbis Creates its Own Trend

What should be clear though is the importance for photographers of trying to predict the direction of the market, and supplying images that don’t just match what has sold in the past but which are likely to sell in the future. That’s not easy to do. If it were easy, Corbis wouldn’t need a dedicated team to plough through site stats, leaf through magazine ads and read through research reports. While social media sites like to talk of their ability to reveal trends, the kinds of short-term discussions that can dominate Twitter or Facebook for a day or two aren’t worth shooting when images need to earn revenues over a number of years. Long-term trends are much harder to predict.

It helps too that when a company the size of Corbis says that it has identified a rising trend, its heft can help it to fulfill its own prophecy. In addition to noting what buyers are now looking for, the company promotes a product that it hopes will deliver what they want, and pushes it with some heavy marketing. The Human Touch collection is accompanied by a research report that describes the trend rather than supplying figures to prove the trend exists, and offers stationery to encourage purchases. Buyers aren’t just being told that human contact is the new advertising fashion; they’re also being informed that if they don’t use these images, they’re going to be behind the times. If “macro content” outsells “non-macro content,” it might be as much to do with Corbis’s canny marketing as its ability to spot a need and meet it.

Independent photographers don’t have that kind of clout. But they can hang on to Corbis’s coat tails. Even if they can’t supply their images to Corbis themselves, they can create images that help to promote the trend, that encourage buyers to use them, and which make sales. Then they can get ready for the next trend, which, says Amber is likely to be education and science.

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5. Locking in Your Clients and Buyers

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